Guitar master Bill Frisell's global approach includes progressive-jazz, jazz-rock, chamber-jazz, and Americana as the list goes on. But what separates him from others is his signature voice. Otherwise, a biopic account of his rise to prominence exceeds the boundaries of this article. However, Frisell's visionary propensities hit another high mark on this album, based on John Lennon's discography.

Guitar master Bill Frisell's global approach includes progressive-jazz, jazz-rock, chamber-jazz, and Americana as the list goes on. But what separates him from others is his signature voice. Otherwise, a biopic account of his rise to prominence exceeds the boundaries of this article. However, Frisell's visionary propensities hit another high mark on this album, based on John Lennon's discography.

Over the years, the jury has been out on jazz-based Beatles covers, perhaps due to the pop-jazz oil and water syndrome. But Frisell's down-home conglomeration of blues, rock, and jazz improvisation amid slight inferences to the free-zone in select spots, offer a cunning reformation of Lennon's heralded works. It's a vastly entertaining program that ripens with age as they say. And one of many standouts is the band's rendition of "Come Together," which is the opener on The Beatles' 1969 album Abbey Road. Here, drummer Kenny Wollesen mimics Ringo Starr's rolling patterns, but the quintet morphs the piece into punchy rock groove, gruffly tinted with Frisell's distortion techniques and Jenny Scheinman's angular violin lines. With his customary tweaks, twirling notes and sinewy chord voicings, the leader along with slide guitarist Greg Leisz coalesce for a country-blues vibe amid a touch of grunge and the soloists gritty harmonization's of the primary theme. At times they reshape the melody, abetted by Leisz' upper-register notes, dappled with a sense of yearning. Yet for the finale, the band executes a slow fadeout into rock-and-roll abyss. In sum, "All We Are Saying..." is a five-star masterpiece, graced by Lennon's aura.

The young HUBRO record label issues LPs and CDs by Norwegian artists, pursuing improvisation that touches upon indigenous folk, jazz, minimalism, electronica and avant-garde metrics. As the second album by the trio 1982 offers a striking audio perspective via its unusual instrumentation. With deep-rooted and slightly disfigured Scandinavian folk, the band casts a vista akin to a solemn winter evening sprawled across farmland-like vistas under a full moon, amid a few highly-charged spikes in the action.

The young HUBRO record label issues LPs and CDs by Norwegian artists, pursuing improvisation that touches upon indigenous folk, jazz, minimalism, electronica and avant-garde metrics. As the second album by the trio 1982 offers a striking audio perspective via its unusual instrumentation. With deep-rooted and slightly disfigured Scandinavian folk, the band casts a vista akin to a solemn winter evening sprawled across farmland-like vistas under a full moon, amid a few highly-charged spikes in the action.

They interlace jagged pastoral soundscapes with eerie voicings, and accenting rhythms to complement Nils Okland's full-toned Hardanger fiddle performances. And with Sigbjorn Apeland's use of a harmonium and Wurlitzer keyboard, a sense of antiquity graces the succinct blend of ultra-modern improvisational concepts and microtonal subtleties.

The trio's unique line of attack is treated with abstracts, endearing melodies, and free-form interactions, yet matters never get out of hand or morph into bombastic soloing jaunts. For instance on track # 4, traces of the blues and folk conjoin with drummer Oyvind Skarbo's simple backbeat and Apeland's quivering piano notes that shape a loosely architected baseline, embedded with a sense of loneliness.

On track #6, a haunting voice overlay rides above Okland's ominous lines and Apeland's undulating keys. Here, the band temporarily freezes time as we know it. In other areas, the musicians delve into stark experimentalism, gangly grooves, and polytonal noise-shaping mechanisms with swirling progressions and unorthodox song-forms.

HUBRO's roster of artists present a refreshing new outlook within a myriad of genre-hopping productions, seeded within the ingenuity, keen perceptions, and artistically minded presentations by musicians who strive to create a sampling of music magic. Hence, 1982 is a band that offers a discreet set of contrasts with a mind-bending stance on roads previously travelled, often tinted with an ECM Records type aesthetic.

Canadian guitarist Ryan Davidson knew what his mission in life was going to be since grade school. What he has been searching for is the means to make it happen. As he recalls, "I believe I started playing when I was six, and began lessons at eight. Truthfully, I don't have any memories of not playing the guitar. All I can remember is that it was all I ever wanted to do."

Canadian guitarist Ryan Davidson knew what his mission in life was going to be since grade school. What he has been searching for is the means to make it happen. As he recalls, "I believe I started playing when I was six, and began lessons at eight. Truthfully, I don't have any memories of not playing the guitar. All I can remember is that it was all I ever wanted to do."

Born in Edmonton, Canada, Davidson acquired a Master of Music in Jazz Studies from the Universityof North Texaswhere he also taught guitar from 2008 to 2009. He continued his role as music educator in 2010 when holding a music clinic at Canada's Saint Francis Xavier in Nova Scotia. Davidson's foray into the music industry began as a studio musician for such notable recording artists as Carolyn Dawn Johnson, Asleep at the Wheel's Dave Alexander, Chris Cummings and Jason Blaine to name but a few.

Davidson discusses how his experience as a studio musician prepared him to record his debut album in collaboration with his trio, bassist Ryan Hagler and drummer Ryan Jacobi. "I had done a fair amount of studio work in the country music market and also a handful of jazz recordings" he explains. "Some of that experience prepared me for the technical aspect of this recording, for example time management and equipment etc. However, because this was my first album of my own music, nothing prepared me for the pressure I felt when we got to the studio. Hagler, Jacobi and engineer Jim Meyer made the experience much more relaxed and were patient with me and my stress."

The album is named after the trio and Davidson expands on how he first met his band-mates. "I first heard Ryan Hagler play with the One O'clock Lab Band. He is an extraordinary bassist and musician. Later, when I was a member of the One O'clock, it was obvious to me that I had to find any excuse to play with him that I could. I knew I had to use him on this record."

He adds, "In my first month at University of NorthTexas, I had to play in front of the guitar department. I asked some people who the best drummer around was and Ryan Jacobi's name came up. He is a great drummer and musician. It wasn't until a few years later that we were able to reconnect on this project. He was perfect for it. Both Hagler and Jacobi are dedicated to excellence in music and are good friends."

Davidson looks back to when he began toying with the idea of making a solo album. "I had been thinking of recording an album for some time. The reason for not recording before now was that I felt I was not playing at a level worth noting permanently on a recording. Then I realized that it was more important to leave something behind in this world, than to leave it, wishing I had."

The opening track on the album is 'Ghost Riders in the Sky' and as he recounts "I had always wanted to play this song from a young age. While I was participating in a western swing clinic, in Lawton, Oklahoma with Dave Alexander, I had mulled over the idea of doing a re-harmonized version of the song in 5/4. Dave has played with Asleep at the Wheel, George Strait, Toby Keith and LeAnn Rimes. I woke up in the middle of the night in my hotel room and wrote the entire thing out on tiny, yellow sticky notes. At 2-00 AM they were all I had. I then stuck them on the night stand in the right order and put it all in the computer the next day. The trio began playing it at shows shortly after."

Another of the album's cover tunes is 'Im Wunderschonen Monat Mai' and, as he recollects "there were a few factors why he I chose this number. I grew up playing classical guitar and have always loved romantic period music. I had the privilege of studying and playing with bassist Lynn Seaton for four months. It consisted of jazz only arrangements of classical pieces. This piece was one of those that we played. Most importantly, I met my girlfriend Zandrie in May and I wrote this arrangement for her. The title is translated roughly, 'In The Wonderful Month Of May.' I play it often. In the future there may be an album of only romantic period pieces but when and if this happens remains a mystery."

Two outstanding, original pieces on the album are 'Out of Nowhere' and 'Texas Oracle' which are a blend of country, jazz and, in the case of the latter, pure rock. Davidson starts by describing the making of 'Texas Oracle' which rings like an anthem. "I had written this piece for my teacher Fred Hamilton. He always had a subtle and interesting way of pushing me to become better. I think he told me what I needed to hear, not what I wanted to hear. He is a good friend and mentor. Although I am not a rock and roll guitarist by any stretch of the imagination, I love the genre and wanted to write something to show my respect for it. The outro is 'Out of Nowhere', a jazz standard that is also on the record in a different arrangement. The truth is, on the second day of recording, we had some technical issues. Ryan Hagler and Ryan Jacobi had to make an impromptu, music store run. I had the studio time to myself and wanted to make the most of it. I recorded the hidden track 'Out of Nowhere' and 'Round Midnight' while some gear was being fixed."

He reveals, "The song choices were a collaborative effort. Our live shows probably consisted of about three times the amount of material than was used on the record. The song choices seemed obvious to all three of us."

The trio has double duty on the recording, first as the musicians and second as the producers. Davidson expands, "I knew it would be difficult to fill both of these roles pretty early on. To make it easier, all three of us decided to fulfill the role of producer. We used the 'veto' method. That is, if two out of three of us had a good take and one person didn't, we kept it. Also, the 'energy' of each take was considered. We all agreed that the best takes were the ones that sounded organic and on edge, instead of contrived and safe. Of the thirteen hours of music we recorded, only forty minutes or so made the CD. Most of the best music was in the first couple of takes."

He speculates, "The trio will hopefully record for years to come. I have enough material to record a new record in 2012 with touring to follow."

The Ryan Davidson Trio is on its way to widening the scope of country music by adding elements of jazz. They have been paving their own way which has been a challenge but is a challenge that they have accepted wholeheartedly. While still maintaining time-honored traditions of country music, they exercise their freedom to improvise. In doing so they are planting the seed for fertile new ground that is sure to attract those who follow.

]]>morrice.blackwell@gmail.com (Susan Frances)Jazz Artist InterviewsSun, 15 Jan 2012 06:00:00 -0600Gemini by Koby Hayonhttp://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/gemini-by-koby-hayon.html
http://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/gemini-by-koby-hayon.htmlKoby Hayon’s debut album, Gemini, features a wide-open style of playing that gives the trio plenty of room to fill space and experiment with the pushing and pulling of time to shape the musical space around them. Featuring drummer Jerome Morris and veteran bassist Kermit Driscoll, Hayon's compositions blend traditional jazz guitar with Middle-Eastern song and pop. Born in Israel, Hayon works to incorporate the indigenous Middle-Eastern sound of his home throughout his compositions and improvisat

Koby Hayon’s debut album, Gemini, features a wide-open style of playing that gives the trio plenty of room to fill space and experiment with the pushing and pulling of time to shape the musical space around them.

Featuring drummer Jerome Morris and veteran bassist Kermit Driscoll, Hayon's compositions blend traditional jazz guitar with Middle-Eastern song and pop. Born in Israel, Hayon works to incorporate the indigenous Middle-Eastern sound of his home throughout his compositions and improvisations. Before arriving in New York in 2001, Hayon studied at the Rimon School of Jazz and Contemporary Music in Tel Aviv. Hayon went on to study with John Abercrombie and Todd Coolman at Purchase College outside of NYC. It is hard to pin down the overall vibe of this album. The guitar playing is very disjunct with solos seemingly put together with a number of rather unrelated ideas.

Hayon pieces together quick tonal scaler runs with jagged, slightly atonal arpeggios to create a constant sense of tension. This is, of course, not true throughout the album - on the title track Hayon cuts a refreshingly melodic solo that lends itself nicely to the rhythm section and also blends well with the melody of the tune. Just when you think there is a real spark of energy, the lights go out. Tracks to listen to: “Norwegian Wood” and “Gemini.”

]]>morrice.blackwell@gmail.com (Aaron Craven)Folk Jazz - CD ReviewsSat, 05 Mar 2011 06:00:00 -0600Recuerdos de Granada by Brenda Hopkins Mirandahttp://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/recuerdos-de-granada-by-brenda-hopkins-miranda.html
http://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/recuerdos-de-granada-by-brenda-hopkins-miranda.htmlEvery once in a while one comes across a CD of such quality and beauty that restore your faith in music. Brenda Hopkins Miranda’s Memoirs from Granada is that kind of CD. A music jewel from beginning to end, in Memoirs from Granada, Brenda captivates the listener with an exquisite fusion of Jazz, music from Spain and of course, music from her country, Puerto Rico. Brenda Hopkins is a wonderful pianist, with extraordinary technique, equally impressive playing either Jazz, Rock, or Classical music

Every once in a while one comes across a CD of such quality and beauty that restore your faith in music. Brenda Hopkins Miranda’s Memoirs from Granada is that kind of CD. A music jewel from beginning to end, in Memoirs from Granada, Brenda captivates the listener with an exquisite fusion of Jazz, music from Spain and of course, music from her country, Puerto Rico.

Brenda Hopkins is a wonderful pianist, with extraordinary technique, equally impressive playing either Jazz, Rock, or Classical music. With Memoirs from Granada, Brenda adds to that mix, the musical experiences she had while living in Granada, Spain.

Memoirs of Granada starts with a beautiful piano intro on the first track, Miranda, a composition full of melodies played with passion and intensity. Brenda brilliantly used melodic ostinatos to state a theme and create different moods. Ostinato is a repeated melodic or rhythmic pattern.

The melodies on "The Return" show the strong Arabic influence in the music from Spain. On her improvisations, Brenda plays masterfully with the melodies, harmonies and rhythms, accompanied once again by the excellent playing of Efrain Martinez on drums and Aldemar Valentin on bass.

"Plaza Nueva" starts with a fun intro, kind of dissonant. On this piece the music of Spain fuses with Jazz in a perfect musical marriage. Carlos Sanchez is amazing on trumpet with touches of be bop on his phrasing, and Brenda plays some of her best solos on piano. Hector Matos and Samuel Morales play drums and bass on this one.

Carlos Sanchez trumpet steal the show on "Mi Sacromonte", with melodies reminiscent of the Cool Jazz era. Carlos powerful solos and high notes are a perfect match for the quiet intensity of Brenda’s music. Brenda always finds a way to capture the senses with magnificent compositions and energetic playing.

In a CD full of musical highlights, "Flamenco Borincano" is probably the brightest one. The title comes from one of the most famous songs from Puerto Rico, Lamento Borincano, wrote by Rafael Hernandez. Brenda creates a perfect fusion of the Flamenco feeling with the melodies of Lamento Borincano. "Flamenco Borincano" is already in my opinion, a Puerto Rico Jazz classic. Excellent solo on percussion by Enrique Chavez.

The beautiful, almost heavenly piano melodies on Vimaambi, change into a more rhythmic piece with the flamenco dancer (bailaora). There are some solo piano tracks like Wings of Illusion and Absence for Brenda to showcase his classical influences and technique. And on "Chawarma" there’s a funky feeling with some Rock influences.

There is an almost nostalgic feeling on the piece "Huerto de Juan Rana", with melodies that seems to evoke memories from Spain. El Darro contains music that invites you to close your eyes and let music take you away.

"Confeti" is the most festive track on this CD, with a fusion of Puerto Rico folk music in the melodies with latin jazz rhythms.

Brad Keller has been a professional musician and educator for over seventeen years. His multi-dimensional musical influences range through Jazz and...

Brad Keller has been a professional musician and educator for over seventeen years. His multi-dimensional musical influences range through Jazz and Blues to Bluegrass and Country and continue through Rock, Classical and many varieties of World Music.

In April of 2001 Brad co-founded The Creaking Tree String Quartet. The acoustic quartet also features the work of John Showman (fiddle), Brian Kobayakawa (double bass) and Andrew Collins (mandolin). The C.T.S.Q. debut self titled CD was nominated for Roots and Traditional Album of the Year: Group, at the 2004 JUNO Awards. Their second CD "Side Two" won Instrumental Album of the year at the Acoustic Project Awards and "Old Crow" (the second track on "Side Two") won Instrumental Song of the Year at the International Acoustic Music Awards. This CD also won the "Pushing the Boundaries" trophy at the inaugural Canadian Folk Music Awards. Their Third CD "The Soundtrack" won two Canadian Folk Music Awards in the Best Instrumental Group and Pushing the Boundaries categories, and was also nominated for Instrumental Album of the Year at the 2009 JUNO awards.

Brad has Performed throughout Canada and the U.S. including such geographically diverse locals as the N.W.T, the Yukon and Newfoundland in Canada, and large urban centers such as Manhatten, Boston, Philadelphia, Portland and Seattle in the US. He has performed at a wide range of venues including: The Atlantic Jazz Festival, The Ottawa Blues Festival, The Ottawa International Chamber Music Festival, The Calgary Folk Festival, The Montreal Jazz Festival, The Stratford Concert Series, Seattle Folk Life, The Vancouver Folk Festival, The Winnipeg Folk Festival and twice on the Roots and Branches Stage at the I.B.M.A. (International Bluegrass Music Association) Fan Fest, once in Louisville, Kentucky, and the other in Nashville, Tennessee.

In early Oct "09 thanks to a generous grant from the Canada Council for the Arts. Brad released his first CD under his own name entitled "House On Fire". Keller decided to assemble some of Torontos finest musicians to perform his latest compositions featuring a variety of different instumentations including Piano Clamhammer Banjo Fiddle Mandolin Tenor Sax and B3 Organ. House On Fire is an All-Instrumental release written and performed primarly on the acoustic guitar but also displays some of Brad's soulful electric guitar skills. This recording named itself when the house the studio was in caught on fire as the musicians were busy recording (not just a little fire but the flames were over 4 feet high at one point and the entire house was almost lost including the instruments and everything that was recorded already!!!).'

]]>morrice.blackwell@gmail.com (Brad Keller)Jazz SpotlightsTue, 30 Jun 2009 19:00:00 -0500Jazz in the Stone Age by Jazz Folkhttp://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/jazz-in-the-stone-age-by-jazz-folk.html
http://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/jazz-in-the-stone-age-by-jazz-folk.htmlCD Review: Jazz Folk - Jazz in the Stone AgeDon't let the Neanderthal pic in the CD cover fool you, Jazz in the Stone Age is a collection of wonderful versions of…

CD Review: Jazz Folk - Jazz in the Stone Age

Don't let the Neanderthal pic in the CD cover fool you, Jazz in the Stone Age is a collection of wonderful versions of rock songs. Starting with Corinna, a blues by the great Taj Mahal. The organ give this piece that classic and cool 60's, 70's Rock/Blues sound.

A peaceful, folksy atmosphere is created by the music arangement of the second track, Joni Mitchell The song about about the midway. The album also includes three compositions by rock musician Beck. Nobody's fault but my own, Tropicalian Shadows, the jazzier piece on the album and Cold Brains, this last one with a more recognizable Beck like sound and style.

From Lou Reed and the legendary group Velvet Underground, the beautiful ballad, Pale Blue Eyesand the freer more rockin All Tomorrow's Parties with nice dissonances on the piano solo.

Al those Deadheads (Grateful Dead fans) I know are still out there, will love the folksy version of Jerry Garcia Lay me down.

]]>morrice.blackwell@gmail.com (Wilbert Sostre)Folk Jazz - CD ReviewsSat, 20 Feb 2010 18:00:00 -0600Pretend Its the Eng of the World by Bryan and the Haggardshttp://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/pretend-its-the-eng-of-the-world-by-bryan-and-the-haggards.html
http://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/pretend-its-the-eng-of-the-world-by-bryan-and-the-haggards.htmlThere hasn’t been a great deal of "crossover" between the spheres of jazz and country music. Charlie Parker was a fan of country music, and is reputed to have sat in wit…

There hasn’t been a great deal of "crossover" between the spheres of jazz and country music. Charlie Parker was a fan of country music, and is reputed to have sat in with country singer Ray Price’s band for an after-hours jam session in the early 1950s. Louis Armstrong recorded with Jimmie Rodgers in the ‘30s, Willie Nelson and Wynton Marsalis performed together, bass ace Charlie Haden sang in a family country music group as a youth, and of course Bill Frisell recorded the classic disc Nashville. In concert, Merle Haggard’s band has been known stretch-out instrumentally, and one of Glen Campbell’s favorite guitarists is Django Reinhardt. Which brings us, Dear Reader, to the debut disc of Bryan and the Haggards, a combo of young cutting-edge jazz players taking Merle’s catalog into a Twilight Zone.

Featuring two members of the roguish avant-bop quartet Mostly Other People Do The Killing Jon Irabagon and Matthew "Moppa" Elliott this quintet uses classic Haggard tunes as a point of departure for some hearty, earthy, wild ‘n’ wooly free-charged improvisations. Bryan & the Haggards clearly have a heartfelt affection for the music of Merle (on of the standard bearers of the honky tonk style, which is way different from the assembly-line pap passing for "country music" on mainstream radio). They caress, parade, and benevolently chide the original melodies and then interpret them in a cheerfully, somewhat rowdy manner. Would Merle approve? Of some of it, I’d like to think but I think the yummy-rich bluesy wail of "Miss the Mississippi and You" would get approving smiles from Ray Charles and David "Fathead" Newman in the Great After-Hours Club in the Sky. Jon Lundbom’s electric guitar has a thick, fat, sound (with hints of Frisell and Sonny Sharrock influences) with a strong Western "twang." Herein is plenty of John Zorn-like skronk, Ornette Coleman elasticity, Mingue-like abandon, and the fleet blues-itude of Cannonball Adderley.... and plenty of swing, too. Plus Bryan & his fellows bring out and highlight the blues element that deep with Haggard’s style. The musically conservative need not apply, but the eclectic and open-minded will find Pretend to be a hep-cat-approved, neighbor-aggravating party.

Even though Vers Le Haut is just Sandra Godoy second album (the first was Essencia on 2003), she is been singing professionally for 30 years now. Sandra c…

Even though Vers Le Haut is just Sandra Godoy second album (the first was Essencia on 2003), she is been singing professionally for 30 years now. Sandra career started in the late 70's in Sao Paulo, Brasil and in the 90's she was already working on different musical projects all over France and Europe.

Sandra wrote most of the french and portuguese lyrics on Vers Le Haut and co-wrote most of the music with producer/guitarrist/bassist/composer Laurent Tchen-Fo. The other musicians on Vers Le Haut are, Marc Buccafuri on guitars, cavaquinho and arrangements. Djamel Taouacht on percussions, Angelique Chamboneau and Cyrielle Roux on vocals.

Sandra sensual voice and sincere, heartfelt interpretations takes you through a voyage of fascinating and hypnotic melodies and rhythms. In every song you will find different influences. The beautiful melodies and vocal harmonies on Samboris, are reminiscent of african chants. The music and arrangements on Venez-Voir are also influenced by african rhythms. Songs like "Vers Le Haut" and "Razoes" almost feel like a slow reggae.

Sandra shows her gentle, romantic side on in songs like "Chez Moi", "Fils", "Je Suis Malade" and the beautiful waltz "Si un Jour." On "Deracinee" after a lovely acoustic guitar intro, Sandra wonderful voice lead us through a song full of images of her native Brasil.

"Moleke", one of the two songs with portuguese lyrics, has more of a brazilian feeling to it and is one of the more upbeats tracks on the album with excellent percussions by Djamel Taouacht and fantastic vocal harmonies by Angelique and Cyrielle. But one of my favorites is Mon Martien, with a latin, almost Caribbean rhythm that invites you to dance.

]]>morrice.blackwell@gmail.com (Wilbert Sostre)Folk Jazz - CD ReviewsFri, 08 Jan 2010 06:00:00 -0600Recuerdos de Granada by Brenda Hopkins Mirandahttp://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/recuerdos-de-granada-by-brenda-hopkins-miranda.html
http://www.jazzreview.com/cd-reviews/folk-jazz-cd-reviews/recuerdos-de-granada-by-brenda-hopkins-miranda.htmlEvery once in a while one comes across a CD of such quality and beauty that restore your faith in music. Brenda Hopkins Miranda’s Memoirs from Granada is that kind…

Every once in a while one comes across a CD of such quality and beauty that restore your faith in music. Brenda Hopkins Miranda’s Memoirs from Granada is that kind of CD. A music jewel from beginning to end, in Memoirs from Granada, Brenda captivates the listener with an exquisite fusion of Jazz, music from Spain and of course, music from her country, Puerto Rico.

Brenda Hopkins is a wonderful pianist, with extraordinary technique, equally impressive playing either Jazz, Rock, or Classical music. With Memoirs from Granada, Brenda adds to that mix, the musical experiences she had while living in Granada, Spain.

Memoirs of Granada starts with a beautiful piano intro on the first track, Miranda, a composition full of melodies played with passion and intensity. Brenda brilliantly used melodic ostinatos to state a theme and create different moods. Ostinato is a repeated melodic or rhythmic pattern.

The melodies on "The Return" show the strong Arabic influence in the music from Spain. On her improvisations, Brenda plays masterfully with the melodies, harmonies and rhythms, accompanied once again by the excellent playing of Efrain Martinez on drums and Aldemar Valentin on bass.

"Plaza Nueva" starts with a fun intro, kind of dissonant. On this piece the music of Spain fuses with Jazz in a perfect musical marriage. Carlos Sanchez is amazing on trumpet with touches of be bop on his phrasing, and Brenda plays some of her best solos on piano. Hector Matos and Samuel Morales play drums and bass on this one.

Carlos Sanchez trumpet steal the show on "Mi Sacromonte", with melodies reminiscent of the Cool Jazz era. Carlos powerful solos and high notes are a perfect match for the quiet intensity of Brenda’s music. Brenda always finds a way to capture the senses with magnificent compositions and energetic playing.

In a CD full of musical highlights, "Flamenco Borincano" is probably the brightest one. The title comes from one of the most famous songs from Puerto Rico, Lamento Borincano, wrote by Rafael Hernandez. Brenda creates a perfect fusion of the Flamenco feeling with the melodies of Lamento Borincano. "Flamenco Borincano" is already in my opinion, a Puerto Rico Jazz classic. Excellent solo on percussion by Enrique Chavez.

The beautiful, almost heavenly piano melodies on Vimaambi, change into a more rhythmic piece with the flamenco dancer (bailaora). There are some solo piano tracks like Wings of Illusion and Absence for Brenda to showcase his classical influences and technique. And on "Chawarma" there’s a funky feeling with some Rock influences.

There is an almost nostalgic feeling on the piece "Huerto de Juan Rana", with melodies that seems to evoke memories from Spain. El Darro contains music that invites you to close your eyes and let music take you away.

"Confeti" is the most festive track on this CD, with a fusion of Puerto Rico folk music in the melodies with latin jazz rhythms.